alexandra coghlan
Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.
Articles By Alexandra Coghlan
latest in today
Dance of Death, National Theatre of Norway, Coronet Theatre...
You don’t have to be Scandinavian to act out Strindberg’s fantastical extremes at the highest level, but I’ve not seen any British performers come...
Allelujah review - Alan Bennett put through the blender
I'm proffering just a tad less than three cheers for Allelujah, the film version of...
Turandot, Royal Opera review - spectacle and sound wow in th...
Nearly 40 years old, Andrei Serban’s Royal Opera Turandot feels like a gilded relic (I felt like a relic myself on learning that my...
The Way Old Friends Do, Park Theatre review - sweet, but fli...
Is it a good idea to work with your spouse? The Way Old Friends Do, a love letter to ABBA tribute bands – which...
Album: Cécile McLorin Salvant - Mélusine
In European folklore, mélusine are woman from the waist up and fish or serpent below. The fabled character is first known in the 13th century....
Music Reissues Weekly: Duffy Power - Innovations, Live At Th...
Sometime in early October 1963 John Lennon and Paul McCartney encountered The Rolling Stones and offered them one of their songs; one which became...
Blu-ray: Saraband for Dead Lovers
The 17th century romantic tragedy Saraband for Dead Lovers (1948), Ealing Studios' first Technicolor film, was conceived as a magnificent...
Amidon, Clayton, SCO, Kuusisto, Queen's Hall, Edinburgh...
On paper, the formula shouldn’t be that special. Really good music played by really good people is hardly a groundbreaking concept...
Marjorie Prime, Menier Chocolate Factory review - superbly a...
Artificial intelligence has become an even...
Further Than the Furthest Thing, Young Vic review - small is...
Some plays are instantly forgettable, others leave a tender fold in the memory. I well remember seeing Zinnie Harris’s evocatively titled ...